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4/29/2018 11:01 pm  #1


Dialog of Jennifer/Lillian

​I am using a J for Jennifer/Lillian because I am using L for Liz.  



Zarak Mosedek, 


  At work/the Tavern. 


J, Bill, your cab's here. 

 Man,   Oh, did I call one?
 
J, No, I did. Go sleep it off.  You can pick up your car in the morning.
 
Man, You are an angel of mercy.


 J, Yeah, and you're six sheets to the wind. 

 Man, Seven and a half. Oh, and I'm broke.
   
J, Here. This will cover the cab.
  You can pay me back when you pick up your car. Come on. 

 J, Go to sleep. Drink water! 

L, Hello?  Hi. I left my purse.
 
J, Uh, yeah.
 
L, Sorry. I think I left it in the bathroom.
 
J, Sure. I'm always losing everything.
  You know, my wallet, my keys
 
L, My name is Elizabeth Keen.  I'm a special agent with the FBI.
 You need to come with me.  


  At the apartment  

 L, The Bureau is investigating Garvey. 


 J, From your apartment. 


 L, I don't know what your relationship is to him, but clearly you mean a great deal to him,
 which means you must know a great deal about him.
 
J, I know that he's good at his job and respected by his colleagues. 

 L,  We're building a case against him.
  I brought you here to show you what we know, what we don't know,
 and to get your help to fill in the gaps.
  You can either cooperate or be charged as a conspirator to his crimes. 

  J, What crimes? 

  L, To begin with, he murdered my husband. 
So that's what we know.  We can connect Garvey to two murders and to providing protection
 to a drug cartel, but we can't prove any of it.  Tell me what you know, and maybe we can.
 

J, What I know about Ian is he's a good man.
  He's looked after me since I was a kid. Been like a father to me. 


 L, I know how difficult this must be for you.
  Trust me I know what it's like to have a father who's a criminal. 

 J, Look, Ian isn't my father. He protected me from my father.
  Got me into Witness Protection to keep my father away from me.
 
L. Wait I'm you were in WITSEC?
 
J, For most of my life, yeah. And now I know why.
 It's because the FBI spends more time looking for good people
 like my surrogate father rather than bad people like my real one. 

 L, Your real father? 

 J, Perhaps you've heard of him.  His name's Raymond Reddington.
  He's been on the FBI's Most Wanted List for 20 years. 

 L,You're Raymond Reddington's daughter? 

 J,Why do you look so surprised?
  
L, Because I am, too. 



Ian Garvery Conclusion,


 In the apartment.


J, I'm good. 


 L, I have a daughter. 


 J, I want to go home. 


 L, Her name is Agnes.  She's living with her grandmother
 until it's safe for her to come back. 


 J, Am I free to go?
 
L. It won't be safe until Ian Garvey is in prison. 

 J, Is that a yes or a no? 

 L, I didn't force you to stay. I forced you to listen.
  I needed you to hear that Ian Garvey killed my husband.
  Right here! Right where I'm standing now. 

 J,You know, I always fantasized about having a sister.
  Someone who I could be completely honest with
  because I know she would be completely honest with me. 

 L, I am being completely honest with you. 

 J, Ian is my surrogate father.
  He taught me to drive.
  He showed up to my graduation.
  He was there after my real father abandoned me.
  And you want me to help you arrest him.L, I do. 


 J, What if it was Reddington?  Would you arrest him?
 You're an FBI agent. He's on your Most Wanted List.
 Be honest If you knew where he was right now, would you arrest him? 

L, It isn't the same thing. 

 J, Right. Like I said, it was a fantasy. 

 L, I wish we could just forget all of this and get to know one another. 

 J, I think we both know it's a little late for that.


 Jennifer meeting with Garvey  

G, Hey. What's the matter? 

J, Are you like him?
 
G, Like who?
 
J, Reddington. Are you like him?
 
G, You know the answer to that.
 
J, I know about the Nash Syndicate, about Zarak Mosadek. 

 G, Whatever you've been told, there's an explanation for all of that. 

 J, You saved me.  You protected me.
 
G, I don't know who you've been talking to, but what matters
 
J, This matters to me, Ian. This matters to me.
 
G, You don't need to be protected from him anymore.  Not after tomorrow. 

J, Are you gonna kill him? Like you killed Tom Keen? 

 G, So that's who you've been talking to? Agent Keen? 

 J, Are you gonna kill Reddington? 

G, A meeting's been set.
 Reddington thinks I'm coming to give him something he wants.
 I have other plans.


Liz on phone. 


J, And why would I help you?
 
L, Because if you do, Garvey will go to prison.
  If you don't, he'll be killed. 

J, By Reddington.
 
L, Yes, he has something Reddington wants.
 
J, On TV, they're saying he killed that man Mosadek,
  but you said that they worked together.
 
L, Did Garvey ever mention that duffel bag?
  Did he tell you where it might be? A locker? A storage unit? 

 J,  I-I don't know. Maybe. 

 L, Where are you? 

 J, I'm at work. 

 L, Think about that duffel bag and where it might be.
 Helping me find it before Reddington just might save Garvey's life.


 At the Tavern. 


J, We're closed! I said we're clo
 Ian? Ian. Oh, my God. Are you okay?
 
G, Did you tell Keen? 

 J, What?
 
G,Is that how Reddington knew I was coming? 

J, No!
 
G, You said you talked to her!
 
J,Yeah, but I didn't say anything!
  On TV, they said you killed that man Mosadek. 

 G, I'll pay you back when I can.
 
J, What is happening, Ian?
 
G, Meantime, say you were robbed.
 
J, I am being robbed. 

G, I didn't kill anyone.
 
J, And I didn't say anything to Agent Keen.

G,  I believe you. I wish you'd believe me.
 
J, I don't know what to believe anymore.
 
G,I'm gonna need your car.
 
J, Yeah. The keys are in the jacket.
  Ian, the whole world's looking for you.
  Where are you gonna go?
  Ian? What? What's wrong? What is that? 

 G, That's how Reddington knew.
  It's a bug put there by Keen.
  She heard us talk and squealed to her lord and master.
 
J, The duffel bag Why is it so important? 

 G,  I'm gonna need time to figure out how to clear my name.
  When I do, I'll reach out. There's so much you need to know.
 
J, Can you please tell me now? 

 G, Everything you believed for the last 30 years has been a lie.
  You've spent a lifetime hiding for no reason. 

 L, Ian Garvey, FBI! Hands in the air!
  Do it! Now! You're under arrest. 

 G, You don't want to do that. 

 L, Oh, yeah. I do.
 I can't think of anything I've ever wanted more. 

 G, I can. Hear what I have to say about
 Reddington's little secret. You arrest me, that's never gonna happen. 

 L, Hands on the bar. I'm listening. 

 J, He didn't kill Mosadek.
 
L, I know. I don't care. 

 G, If I tell you everything I know about Reddington,
 what guarantees do I have that you won't arrest me? 

 L, Absolutely none. 

 J, He's innocent.
 
L, If I can't get him for the murders he did commit,
  I'm happy to get him for the one he didn't.

J,  How can you say that? 

 G, The same reason she bugged your jacket
  and snitched on us to Reddington.
  He owns her.
  She's an FBI agent in the pocket
  of the FBI's most-wanted criminal.
 
J, He doesn't own her. He is her.
 
L, Don't do this.
 
J, And she is him. 

 L, I'm asking you not to.
 
J, She's acting like a criminal because she is the daughter of one.
 
G, Reddington's her father.
 
J, Yeah, and I'm her sister, who I wish I could've gotten to know. 

 L, I think we both know, it's too late for that. 

G, Now I get it.
  Reddington and your husband how they knew each other.
  Reddington didn't know you through him.
  He knew him through you. But the duffel bag
 
L, Where is it?
 
G, How did your husband come by it?
  And why didn't he tell you what was in it? 

 R, Because you killed him before he could.
  And if you try and tell it now,
  I'll do the same to you.
  Utter one word.
 One article, "A""An""The" and I'll shoot you. 

 L, No, he won't.
 Because if he does, I'll shoot him.
 You're right.
 I am unwilling to accept that I am not entitled to
 know why my husband died.
 I am hurt. I do blame you.
 And pulling this trigger, something I desperately
 do not want to do, is me howling at the moon!
 Which is definitely your problem, not mine.
 Tell the story. Tell it!
 
J, Stop! Wait! My hands are up. No gun. 

 G, What are you doing? 

 J, I'm not a threat to anybody. 

 R, Except to yourself. 

 J, I don't know what he's done to you
  or what's in the duffel bag, and I don't care.
  All I know is that my entire life, he's protected me from you,
  and it's about time that I started protecting him.
 Look at me. Anything? I'm your daughter.
  The one you abandoned 28 years ago on Christmas Eve.
  
R, Jennifer.
 
J, Did you think of me at all?
  In my pink room, in my pink pajamas, waiting for Santa.
  When I went to sleep, my world was perfect,
  and when I woke up, it was destroyed. My daddy gone.
  Did he just leave? Was it an accident? We didn't know.
  All we knew was my daddy my good, kind, and decent daddy was gone.
  And then come to find out you weren't good or kind or decent.
  You were a traitor.  And we were sent into hiding.
  From you. From my father.
  And I'm telling you this because if you are
 at all happy to see me, which I'm sure you're not,
  but if there's one shred of relief
  that I made it through this ordeal,
  it's because of Ian.  He saved me. 
  That's why I'm standing here, 
  asking you, my father, to please save him. 

 R, That's entirely up to him.
  Dembe.
 
J, Ian?

L, Call 911!
  Tell them there's been an officer-involved shooting.
  Tell them it's a 10-33. Say it!
 
J, A 10-33!L, You will not die.
  You hear me, you piece of crap?
  Not until you tell me what you know.
  You will not die.   





    Nicholas T. Moore,  



When Red goes to her apartment. 

  J, What? 

 R, Ian Garvey.  I know he meant a great deal to you. 

 J, The answer's no. 

 R, And I'm sorry for your loss. 

 J, I know why you're here.  It's to to see if
   he gave me a duffel bag, and he didn't. 

 R, Yes, I believe you. 

 J, You should.  I don't care about your bag,  and I don't care about you. 

 R, If Garvey didn't give it to you, it's possible he gave it to your mother. 

 J, You're never gonna find her. 

 R, Which means you know where she is. 

 J, After you abandoned us, we lost everything.
  Mom lost everything. Her house, her friends, her entire history.
  Everything but her decency.  That you cannot take from her. 

 R, I need to find Naomi. 

 J, Maybe, but you never will. 


When Jennifer calls Red.  


  R, Hello. 

  J, I can take you to Naomi. 

  R, What changed? 

  J, I have questions I need you to answer.
  I don't think you'll be honest unless properly motivated. 

  R, A car will pick you up in half an hour.  



 When Red and Jennifer meet and talk.  


 R, You said you had some questions. 

 J, How does this happen?
  How do you close a restaurant down in the middle of the day?
  How can you be so calm when you're on the FBI's Most Wanted List? 

 R, Please. Would you like coffee or tea, something to eat? 

 J, No, thank you. Just answers. 

 R, You haven't asked any real questions yet.
  You've expressed curiosity about the tricks of my trade
  a pedestrian form of legerdemain mastered by any number
  of experienced outlaws.  That's not why you're here. 

 J, No. Okay, here's a question Why am I here? 

 R, You want to know why your father abandoned you. 

 J, I'll have tea. Green, please. 
....

 J, So, you're saying you were framed? 

 R,  I'm saying a perfectly plausible narrative was created. 

 J, By some shadow government called the Cabal. 

 R, Secret societies exist. The Cabal, the Trilateral Commission
  private organizations that harness powerful forces
  to tip the scales in their favor military engagements,
  U.N. interventions, treaties.
  The Cabal is the one I stumbled across and tried to destroy.
  To prevent that, they tried to destroy me. 

 J, How does you getting targeted by a scary group of people
  who think they rule the world explain why you abandoned us? 

 R, You weren't abandoned. You were protected. 

 J, Yes. So, you forget my ground rules,
  which is I take you to Naomi in exchange for honest answers. 

 R, In 1990, the KGB and the CIA  had almost nothing in common
  except the mutual determination to hunt down one individual. 

 J, You. 

 R, Being a fugitive from American law enforcement
  is a lot easier than being a fugitive
  from the two most powerful nations on Earth.
  And anyone close to a target of theirs becomes a target themselves. 

 J, Family. 

 R, Especially family.
  Unless they're abandoned on the side of a road on Christmas Eve.

 J, After you left, we went into Witness Protection. 

 R, Put where the Cabal wouldn't find you. 

 J, Or my father. 

 R, An effective, albeit excruciatingly painful solution. 

 J, Effective? 

 R, You survived, as did your mother, to whom I hope you are
  now willing to take me.  




  At the Graveyard.  


R, This cannot be right. 

 J, See for yourself. 

 R, What happened? 

 J, You did. 

 R, How? 

 J, She was shot twice coming out of her apartment.
  No one knows why. I thought maybe you did. 

 R, No. 

 J, You didn't abandon us to protect us.
  You just abandoned us.
  And you know how I know that?
  'Cause I know what it's like to have somebody love me so much
  they would rather cut ties than see me hurt.
  My mom did that. And not by slinking out in the middle of the night,
  by sitting me down when I was in college
  and patiently explaining how terrified she was of you,
  that one day you'd want back in my life,
  that you'd force her to tell you where I was.
  To protect me from that, from you, she walked out of my life.
  I didn't even know she was dead until she'd been gone nearly a year. 

  R, I'm sorry. 

  J, Her husband finally tracked me down
  told me some enemy of yours once kidnapped her, cut off her finger.
  Is that your idea of protection? 

  R, No, it's not.
  It wasn't nearly enough. 

  J, An honest answer, at last.
  And I hope you give me one more to my final question.
  Will you please never contact me again? 

  R, Yes. 

  J, I'm gonna go, leave you to a long overdue apology. 






Sutton Ross, 


When Liz gets the DNA report. 
 J, Did he tell you?
L, Yes. He said there's proof.J,You and I can get to the truth, but if this is going to work,
  we need to gain Reddington's trust.
L, I can help with that. 

At the Graveyard. 
 J, You ready?
L, Oh, yeah.  I'm ready. 



 





 

Last edited by Eastcoast (12/15/2018 2:24 am)


It's a shame you have no crackers  
 

5/01/2018 8:59 am  #2


Re: Dialog of Jennifer/Lillian

Good job putting this all in one place, Eastcoast. It’s enlightening.


“I am exactly who I am. And I can assure you, I’m a far more interesting Raymond Reddington than Raymond Reddington ever was."
 

5/01/2018 9:59 am  #3


Re: Dialog of Jennifer/Lillian

Thanks Eastcoast.  Interesting what Jennifer says, harking back to Tatiana's comment on the other thread:

 When I went to sleep, my world was perfect,
  and when I woke up, it was destroyed. My daddy gone.

Also, Jennifer uses a very precise, not rounded up or down, number of years.  28.  Christmas Eve 1990.

 

 

5/01/2018 11:30 am  #4


Re: Dialog of Jennifer/Lillian

lara1 wrote:

Thanks Eastcoast.  Interesting what Jennifer says, harking back to Tatiana's comment on the other thread:

 When I went to sleep, my world was perfect,
  and when I woke up, it was destroyed. My daddy gone.

Also, Jennifer uses a very precise, not rounded up or down, number of years.  28.  Christmas Eve 1990.

 

I found that interesting, almost like she was reading from a script. I wonder if her memories were also tampered with?


“I am exactly who I am. And I can assure you, I’m a far more interesting Raymond Reddington than Raymond Reddington ever was."
 

5/01/2018 11:40 am  #5


Re: Dialog of Jennifer/Lillian

Honey West wrote:

lara1 wrote:

Thanks Eastcoast.  Interesting what Jennifer says, harking back to Tatiana's comment on the other thread:

 When I went to sleep, my world was perfect,
  and when I woke up, it was destroyed. My daddy gone.

Also, Jennifer uses a very precise, not rounded up or down, number of years.  28.  Christmas Eve 1990.

 

I found that interesting, almost like she was reading from a script. I wonder if her memories were also tampered with?

Oh boy, don't get me started on scripts and the theatre. Remember, I would not be surprised if the story ends with the sound of footsteps, exit stage right, ghost light. The End. 


"I could tell you how to win a marathon, but you're assuming it's a 26.2 mile race. It's not. It's a 6.2 mile race that begins at mile 20." Raymond Reddington
 

5/01/2018 11:49 am  #6


Re: Dialog of Jennifer/Lillian

Thanks Eastcoast! It's good to have this dialog all in one place!

 

5/01/2018 6:29 pm  #7


Re: Dialog of Jennifer/Lillian

Thank you guys! It is nice to have all in one place. And who knows, maybe TPTB might come check it out for a reference! 


It's a shame you have no crackers  
     Thread Starter
 

5/07/2018 12:41 am  #8


Re: Dialog of Jennifer/Lillian

I just added the last episode! 


It's a shame you have no crackers  
     Thread Starter
 

5/07/2018 12:55 am  #9


Re: Dialog of Jennifer/Lillian

When I first saw this I wondered why he thought they/Naomi would have the bag but I brushed it off that he probably did not tell his wife about this and that this information would be best left with Naomi because she acted like she was so afraid of him and it would give her some kind of leverage with him. 

​Although I heard him tell Smokey on the first watch about Naomi being a link to the bag it didn't really hit me as much as it did on the re-watch that Naomi could be connected to the bag somehow. 

​I do not know how yet, but she was in that whole thing up to her elbows!  I think Jennifer is afraid of him only because of the way she told the story putting a wedge between them.  Because one thing I am sure of is that Naomi might have had what I call a healthy fear of Red, but she was not terrified of him the way she punched him in the mouth the way she did!  (that is besides the kissy - kissy on the forehead stuff) 

 


It's a shame you have no crackers  
     Thread Starter
 

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